
Class_J7 ^02. 
Book_ 2^^ 

Copyright W 



COPYRIGHT DEPOSIT. 



WOOD TURNING 

PREPARED FOR THE USE OF STUDENTS IN MANUAL TRAINING 

HIGH SCHOOLS, TECHNICAL SCHOOLS, 

AND COLLEGES 



BY 

GEORGE ALEXANDER ROSS 

INSTRUCTUR IN WOODWORK AND PATTERN MAKING, LEWIS INSTITUTE, CHICAGO 



GINN AND COMPANY 

BOSTON • NEW YORK • CHICAGO • LONDON 



.-v 






Copyright, 1909, by 
GEORGE ALEXANDER ROSS 



ALL RIGHTS RESERVED 



CI. A 2 ^' f, * > 9 
AUa 13 1909 



Ct)t gtftengum l^ttei 

GINN AND COMPANY • PRO- 
PRIETORS • BOSTON • U.S.A. 



^ 






\ 







PREFACE 

The object of these pages is to place before pupils such information as will be 
of practical help to them in their work in wood turning. 

It has been the writer's experience that pupils lose confidence and become 
ner\'0us because of the mishaps that are sure to occur, especially in attempting 
certain forms often presented early in courses of this character ; and for this reason 
these exercises have been arranged in such a way that the turning of beads and 
similar work is left until such time as the confidence of the pupil is fully established ; 
in fact, until he has had considerable experience on the lathe in handling the prin- 
cipal tools in connection with the simpler forms. 

The course and problems are those which pupils in elementar)' woodwork at the 
Lewis Institute are required to complete during the first course in shop work, and 
are so arranged that each successive lesson contains a new principle closely related 
to those in previous exercises. 

The book is intended for class work, and, as stated elsewhere in this volume, 
should be supplemented by instructions and demonstrations given by an instructor 
in charge. 

This little work is sent out with the hope that it may prove of practical benefit 
to those into whose hands it may come. 

GEORGE ALEXANDER ROSS 

Lewis Institute 

Chicago, Illinois 



CONTENTS 

INTRODUCTORY TEXT 

PAGE 

Primitive Lathes and their Development i 

The Speed Lathe and its Parts -^ 

The Rules for obtaining the Diameters and Speeds of Pulleys 7 



Motor Head and Gap Lathes 



7 



Tools used in Turning 12 

Grinding and sharpening Turning Toijls i-^ 

The Gouge i^ 

The Skew Chisel i^ 

The Round-Nose Scraping Turning Toui 13 

The Square- Nose Scraping Tuui ic 

The Diamond-Point Tool 16 

The Cut-Off or Parting Tool i{5 

The Sizing Tool 16 

Tools used for Measuring 16 

Tools used for Sharpening 17 

Sizes of Chisels and Gouges 17 

LATHE-TOOL PRACTICE 

1. Cylinder 17 

IL Cylinder, Stepped 22 

III. Socket Chisel Handle 22 

IV. Teapot Stand 26 

V. Candlestick 27 

VI. Mallet ^4 

VII. Candlestick ■<(, 

VIII. Napkin Rings -^6 

IX. Small Box 



X. Smokers' Set 



39 
41 



XL Towel Rails ^, 

*vll. Rolling Pin .- 

4^ 



XIII. Potato Masher ^^ 

XIV. Card Receiver ^_^ 

V 



vi WOOD TURNING 

SUPPLEMENTARY EXERCISES ^^^^ 

Policeman's Club (Fig. 74) 47 

Indian Club (Fig. 75) 4S 

Bowl (Fig. 76) 49 

Plate (Fig. 77) 50 

Picture Frame (Fig. 7S) 51 

Powder Box (Fig. 79) 52 

Cup (Fig. So) 53 

Dumb-Bell (Fig. Si) 54 

Gavel (Fig. 82) 54 

Turning Tool Handles (Fig. S3) 55 

Towel Rings (Fig. 84) 56 

Vase (Fig. 85) 57 

Lamp Standard (Fig. 86) 58 

Stocking and Glove Darner (Fig. 87) 59 

Parted or Split Work (Figs. 88. 89, 90. 91. 92, 93) 60 

MISCELLANEOUS TURNED MOLDINGS 

Plates I-VI 62-65 

APPENDIX 

Finishes 67 

Fillers 69 

Stains . . 69 

Aniline Stains 71 

mlscell.\neous recipes 7 1 

Cement Wax used in Turning 72 

Methods of refinishing Varnished Surfaces 72 

INDEX 75 



WOOD TURNING 



The art of turning is one of the most ancient of the handicrafts, and is as 
important as it is ancient. The machine on which the work is performed is called 
a lathe. 

Primitive lathes and their development.^ The simplest form of lathe of which 
we have knowledge is supposed to have been constructed something like that 
shown in Fig. i. Two uprights supported a crosspiece on which was fastened a 
tool rest. On the uprights two pieces of 
iron with conical points (called centers) 
were placed so as to support the material 
which was to be "turned." A rotating 
motion was transmitted to the material by 
means of a cord wound around the piece 
and held tight by means of the bow shown 
in the figure. 

By holding the bow in the left hand 
and applx-ing a reciprocating motion to 
it, the material was made to rotate first 
in one direction, then in another. The tool 
was held in the right hand and applied 
to the material as it revolved toward 
the workman, then slightly withdra\Mi as 
it turned in the opposite direction. 

This method of turning is used at the present day in Eastern countries. The 
workman sits on the ground and holds the tools with his toes. This allows him free 
use of his hands in apphing motion to the material. 

A slight improvement in the machine is sho\\'n in Fig. 2. By depressing the 
treadle which pulls down the cord, the wood is made to rotate towards the tool in 




Fig. I 



1 Suggestions for primitive lathes from old print ; author unknown. 

I 



WOOD TURNING 




Fig. 2 



Fig. 3 



the direction in which the cutting is done ; and when the pressure is removed, the 
elasticity of the bow pulls the cord and treadle upward, ready to be depressed by 
the operator's foot. With this arrange- 
ment the operator was able to stand at 
his work, using his foot to give the arti- 
cle motion, thus allowing him the use of 
both hands to manipulate the tools. 

In both the machines shown the driv- 
ing cord was wound around the work 
itself. This made it necessary that the 
material be much longer than the article 
to be turned. Moreover, in such a machine 
there would be danger of breaking the 
wood (if it were small and slender) by the 
continued up-and-down pull of the cord. 

Another step in the improvement of the 
lathe is shown in Fig. 3. The inconven- 
ience arising when the cord was wound around the work doubdess led to the 
application of the pulley to rotate the material. The principle is the same as in 




THE SPEED LATHE AND ITS PARTS 



the preceding lathe. The motion is obtained by means of the treadle and cord, 
but the cord is pulled up by means of a strong elastic "lath." From this lath the 
term " lathe "' is supposed to be derived. 

It should be noted that in these lathes the arrangement of the cord was such that 
the work was made to turn toward the workman on the downward pull of the cord. 
In other words, the power of 
the workman's foot, and not 
the elastic lath, was used in the 
cutting. The inconvenience 
of rotating in alternate direc- 
tions led, no doubt, to the 
next improvement shown in 
Fig. 4. The addition of a fly 
wheel in connection with the 
treadle, to obtain a continuous 
rotation in one direction, en- 
abled the workman to cut con- 
tinuousl}' from one end of the 
piece to the other, and to 
form hollows and rounds in 
the work in almost any con- 
ceivable design. This lathe 
embodies all the principles of 
the modern speed lathe, ex- 
cept that it is driven by foot 
power instead of by steam or 
electric power. ^^" ^ 

The speed lathe and its parts. Fig. 5 shows a speed lathe with its parts in 
position. The names of the parts are as follows : A, lathe bed ; />', tail stock ; 
C, tool rest ; L>, head stock ; £, belt ; 7% shifter ; G, countershaft ; //, cone pulley ; 
/, hangers ; /, line shaft ; A', driving pulley. The parts not lettered are the live 
center, dead center, screw-center chuck, bell chuck, and face plate. (The student 
should know the name of each piece of the machine, so that he may be able to 
adjust it when told the name of the part to adjust.) 




WOOD TURNING 



The head stock. A close study of the head stock (Fig. 6) will show that it is 
made up of several parts, the largest piece of which is the main casting A, into 
which the bearings B are fitted. In the bearings the spindle C revolves. It will 




Fig. 6 

be noticed that the spindle is hollow. This allows for the removal of the live 
center D, when the bell chuck A, screw center B, or face plate C (Fig. 7) are to be 
used. The live center is removed by a rod inserted at the left-hand end. The face 
plate and chucks are screwed on to the spindle. 

The cone pulley E (Fig. 6) is fastened to the spindle by pins or screws, and the 
adjusting mechanism F adjusts the spindle for end thrust, so that when face plate 






Fig. 7 

or chucks are used there will be no lateral motion to the work. The oil cups, or 
holes, are on top of the bearings. The bearings should be oiled frequently to avoid 
" hot boxes." 

The tail stock. The tail stock also (Fig. 8) is made up of several parts, a thor- 
ough understanding of whose functions will save much trouble. In some lathes 



THE SPEED LATHE AND ITS PARTS 5 

the casting A is fastened to the bed by means of a clamp, and in others by means 
of a hand wheel. This is placed underneath the bed in such a manner that when 
the wheel is turned up on a screw provided for the purpose, the tail stock will be 
fastened in any desirable position between the head stock and the end of the bed. 
The tail-stock spindle B is also hollow, for two reasons : first, to give the screw 
C, which is in contact with the nut D, room to pass beyond the nut in order to move 
the spindle in and out of the tail stock ; and, second, to allow the dead center E to 
be removed when necessary. It will be observed that the end of the dead center 




Fig. 8 



projects a short distance into the chamber provided for the screw, so that when the 
spindle is drawn into the tail stock, the end of the screw comes into contact with 
the end of the dead center. This forces the dead center out of its socket and per- 
mits the center to be removed without difficulty. It will also be observed that if the 
screw does not enter the nut, the spindle will remain stationary, no matter how 
much the screw may be turned. In adjusting the tail stock, therefore, great care 
should be exercised in turning out the spindle, so that the nut will not be moved 
far enough to leave the screw. There is danger of bending the thread of the nut 
or screw out of shape in trying to force the spindle back into position. Should this 
be done, the damage can be repaired only by taking the whole tail stock apart. 



WOOD TURNING 



The hand wheel F is used to turn the screw in the spindle ; the clamp G is used 
to fasten the spindle in place when once set. 

On the side of the spindle is a slot (not shown in the figure) into which the end 
of a pin or screw projects, to provide against the spindle's turning when it is drawn 
in or out of the tail stock. 

The tool rest. The tool rest (Fig. 9) is also made up of several pieces. Its func- 
tion is to provide a rest for tools when the operator is at work. The parts are the 

bed plate A, the tee-socket B, the clamp C, and 
the rest D. The manner in which the rest is 
fastened to the bed differs in different makes 
of lathes ; in some it is fastened by a clamp, 
sometimes on the side and sometimes under- 
neath ; in others, by a hand wheel. 

The bed or sJiears. The bed is the main 
casting on which the head stock, tail stock, and 
rest are fastened. The bed is sometimes made 
of wood instead of iron. The legs are the sup- 
ports on which the bed is fastened. 

TJie cowitershaft. The countershaft is that 
part of the driving mechanism which is placed 
directly over the lathe. It is usually fastened 
to the ceiling. 

The parts of the countershaft are the hangers, the tight and loose pulleys, the 
cone pulley, the shaft, the shifter rod, and the shifter, the end of which hangs 
down within easy reach of the operator (see Fig. 5). 

TJie line shaft. The line shaft is the main driving shaft, and may be some dis- 
tance from the lathe (see Fig. 5). 

TJie belting. The driving of the lathe is accomplished by means of belts, or 
bands of leather, arranged in the following manner : The line shaft is driven from 
an electric motor or from a steam engine direct, and may turn at the rate of 1 50 
to 400 revolutions per minute. (It has been determined by experiment that for 
wood turning, a speed of 300 revolutions is most satisfactory.) From a pulley on 
the line shaft a belt runs to the loose pulley on the countershaft. From the cone 
pulley on the countershaft a belt runs to the cone pulley on the lathe. 




Fig. 9 



THE DIAMETERS AND SPEEDS OF PULLEYS 7 

When it is desired to have the cone pulley on the lathe revolve, the shifter is 
moved to one side. This movement throws the belt over on to the tight pulley on 
the countershaft, and this, in turn, causes the cone pulley on the lathe to revolve. 

The gearing of the lathe. By this term is meant the speed at which the lathe is 
belted to give the desired number of revolutions per minute. It will be observed 
from Fig. 5 how this is accomplished. On the line shaft is a pulley larger than 
that on which the belt runs on the countershaft. This means that the counter- 
shaft makes a greater number of revolutions than the line shaft, or, in other words, 
the number of revolutions is increased by the belt running from a large pulley to a 
smaller one. 

The rules for obtaining the diameters and speeds of pulleys are as follows. 

1 . The diameter and number of revolutions of the driver and diameter of the 
driven being given to find its number of revolutions : Multiply the diameter of the 
driver by the number of its revolutions, and divide the product by the diameter of 
the driven ; the quotient will be the number of revolutions of the driven. 

2. The diameter and revolutions of the driver being given, to find the diame- 
ter of the driven that shall make any given number of revolutions in the same 
time : Multiply the diameter of the driver by its number of revolutions, and divide 
the product by the number of revolutions of the driven ; the quotient will be 
its diameter. 

3. 7o aseertai)i the sise of the driver : Multiply the diameter of the driven by 
the number of revolutions you wish it to make, and divide the product by the revo- 
lutions of the driver ; the quotient will be the diameter of the driver. 

The face of a pulley for a nonshifting belt should be round or crowning, and 
for a shifting belt, straight. (In ordering pulleys the exact size of the shaft on 
which they are to go should be given.) 

Motor head and gap lathes. Before passing to tools and materials we may 
mention the motor head and gap lathes, — lathes that have appeared on the 
market during the past few years. 

The improvements shown in the speed lathe as compared with primitive types 
have been succeeded by a self-contained lathe known as a motor-head lathe. 
This type of lathe eliminates all overhead transmission and belts, thus giving to a 
shop a more pleasing appearance than belt-driven machines ; also giving more 
light, less dust, and no danger from breaking belts or countershafts. 



8 



WOOD TURNING 



The lathes here shown are the product of the Oliver Machiner)^ Company of 
Grand Rapids, Michigan, and selected because they are the ones with which the 
writer is most familiar. 

In Fig. 9 A is shown a lathe, to drive which a belt is used. 

Another feature of this machine is the overhanging spindle, which is used for large 
face-plate work. The lathes that follow are the latest designs of this type of machine. 




Fig. g A 

It will be observed from Fig. lo that the lathe is practically the same in all its 
features as the ordinary belted speed lathe, with the exception of the head stock or 
motor head, the motor taking the place of the cone pulley and overhead mechanism. 

This type of lathe is so arranged that fifteen different speeds are obtained ; this 
makes it a desirable machine in many ways. The starting box and switch fastened 
on the left-hand end of the bed are within easy reach of the operator, thus making 
control of the machine a simple matter. 



MOTOR HEAD AND GAP LATHES 




Fig. io 



An improvement on the above lathe is shown in Fig. 1 1 , a hand feed and 
compound swivel rest being features that are of great help in the production of 
certain kinds of work, especially in a pattern shop or brass-turning room. 

In this lathe the tools are held rigid in the tool post, so that the manipulation 
in cutting is done by turning the hand wheels on the apron and cross feed. 



lO 



WOOD TURNING 




Fig. 1 1 



In Fig. 1 1 A is shown another type of lathe which is a self-contained machine. 
From a study of the figure it will be seen that the motor has an extended armature 
shaft on which a cone pulley is fastened. From this cone pulley a belt is run up 
on to the cone in the head stock, thus eliminating the countershaft that is a feature 
of belted lathes. When the beit is to be shifted, the motor is raised enough to 
loosen the belt, so that it can be easily changed. 

The switch block and rheostat are placed directly over the motor, thus in a meas- 
ure protecting the motor from dust. The controlling lever is shown just above the 
switch, and is in easy reach of the operator, giving perfect control of the machine. 

The motor on this type of lathe is arranged for alternating current. 



MOTOR HEAD AND GAP LATHES 



1 1 




Fig. 1 1 A 



The lathe shown in Fig. 12 is what is known as a gap lathe. Possibly there 
is nothing in the line of a wood-turning lathe that is more complete in itself than 
this machine. It can be set up as a motor-driven lathe, or a countershaft can be 
used in driving it. 

The predominating feature of a lathe of this kind is the extension bed. This 
bed can be moved out to accommodate long pieces of work ; the machine illustrated 
will take in a piece of material fifteen feet between centers and thirty inches in 
diameter. The opening of the gap is accomplished by means of automatic mech- 
anism. The tail stock can be raised or set over sideways for service in taper work. 
The lathe is also equipped with a power feed, through cut gears and rack, which 
can be used with the bed in any position. The carriage has also a hand feed, 



12 



WOOD TURNING 




Fig. 12 



while the cross shde carries a graduated compound swivel rest, which can be set 
at any angle. The value of this in some kinds of work cannot be overestimated 
when accuracy is required, and when the gap is open a piece of work eighty-six 
inches in length and sixty inches in diameter can be turned. This gives some 
idea of the capacity of a machine of this kind. 

The makers of this machine claim many special features in construction, etc., 
and pupils studying it are referred to trade catalogues for data on lathes. 

Lack of space compels us to omit a description of what are known as copying 
lathes, also automatic back knife lathes. For descriptions of these machines the 
pupil is again referred to trade catalogues. 

Tools used in turning. In turning, as in any process, there is always more 
than one way of doing a thing, and it is often difficult to decide on the best meth- 
ods of performing special operations. One workman may perform a number of 
operations with one tool, while another may use a tool for each operation. 

The list of tools here given will be found satisfactory for ordinaiy wood 
turning ; for work requiring special operations special tools will be introduced 
and explained. 

Measuring tools : a two-foot rule ; a pair of outside calipers ; a pair of inside calipers ; a pair 
of compasses. 

Sharpoiing tools : an oilstone ; a slip stone ; a piece of leather used as a strop ; an oil can. 

Cutting tools : one f -inch skew chisel ; one ^-inch skew chisel ; one |-inch turning gouge ; 
one ^-inch turning gouge ; one ^^-inch round-nose scraping tool ; one f-inch square-nose scraping 
tool ; one |-inch diamond or spear-point tool ; one |-inch cut-off or parting tool. 

Wood turners often use what is known as a sizing tool. It is not a necessity, but it saves time 
where a number of pieces of the same diameter are to be cut. 

Auxiliary tools : one wooden mallet; one center punch. 






GRINDING AND SHARPENING TURNING TOOLS 



13 



Extra tools fo)' ge7ieral use : one bit brace; one |-inch drill bit; one j\-inch drill bit; one 
screw-driver; one monkey-wrench. 

Before sharpening, tools are first ground to the correct shape either on an emery wheel or on 
a grindstone. Hence an emery wheel or a grindstone is a necessary part of the equipment. 

Grinding and sharpening turning tools. The speeds at which grindstones revolve 
vary for different kinds of work. For general tool grinding, handbooks recommend 
^-4- that a stone travel between 300 and 



<dd. 




600 feet per minute. The writer's 
practice has been to have the grind- 
stone travel at about 425 feet per 
minute ; that is, a grindstone of 36 

inches in diameter should make 45 
¥\G. 13 , . 

revolutions per mmute. 

To determine the number of feet which the circumference of this stone travels 

per minute, multiply the diameter of the stone by the ratio ir — 3. 14 16 ; that is, 

36" X 3.1416 = 1 13.09, or 114. Multiply this product by the 

number of revolutions (45) which the stone makes per minute 

and divide the result by 12 : 



114x45 
12 



= 427^ ft. 




To grind a tool the worker should take a position so that the 
grindstone is revolving toward him, and should apply the tool to 
the stone in such a manner that the cutting edge of the tool will 
not be injured by the grinding. The stone may also be used 
revolving from the operator. 

In Pig. 1 3 is shown the method to be followed. Place the tool 
on the stone as shown by the dotted lines ; then draw it back to 
the position shown by the full lines. The bevel will then be in 
contact with the stone. Then, if the tool be flat like a chisel, move it from side to 
side, as indicated by the arrow points in Fig. 18. This applies to tools in general. 

The gouge. Of all the tools used by the wood turner there is none more com- 
monly used than the gouge ; as the jack plane is to the bench worker, so the gouge 
is to the wood turner. 



Fig. 14 



14 



WOOD TURNING 




Fig. 15 



Before grinding this tool, notice the shape it should have. The end is ground in 
an elliptical form, the bevel being practically a straight line, as shown at AB, Fig, 14. 

To grind the gouge, apply it to the 
grindstone, following the general rule 
given ; then slowly rotate it from side 
to side until the end is the desired shape 
(see Fig, 14), 

The gouge is sharpened on the slip 
stone. Hold the gouge in the left hand 
and the slip stone in the right, as shown 
in the illustration. Fig. 15. (3il is used 
on the slip stone. After the edge on 
the outside of the gouge has been 
rubbed enough, apply the round edge 
of the slip to the inner or concave side, taking care that the slip is in contact with 
the gouge the whole length of the slip. Remove the wire edge by rubbing with 
the slip stone and leather strop. 

The skew chisel. The skew chisel is a tool commonly used to finish straight- 
lined work, such as the sides and ends of cylinders and cones, and in making beads 
and long convex curves. By referring to Fig. 16 it 
will be seen that the end is not a right angle, as is 
the case with the carpenter's chisel, but is beveled 
or " skewed." This beveled or skewed end is made 
so that the operator will have better control of the 
cutting edge. If it were at right angles, he would 
have to swing the handle so far to the side that it 
would be rather difficult to obtain a perfectly straight 
cut. As will be seen from Fig. 16, the chisel is 
ground on both sides, bringing the cutting edge into 
the center of the blade. If the tool is ground un- 
evenly, as indicated by Fig. 1 7, it will be much more 
difficult to control. The tool is guided more by the 
side of the blade than by its edge ; therefore, if the cutting edge is parallel with its 
sides, as in Fig. 16, the angle at which the tool is held for any cut is easily judged 




Z^ 




Fig. 16 



Fig. 17 



GRINDING AND SHARPENING TURNING TOOLS 



15 



by the side of the blade, whereas if the edge is unevenly ground, the angle at 
which it must be held can only be determined by experimentation. 

Fig. 18 shows the position of the chisel on the grindstone. Apply the tool to 
the stone by the general rule given for grinding (page 13), and move it from side 





Fig. 18 



Fig. 19 



Fig. 



to side of the stone, as indicated b}- the arrow points. The angle, or skew, at which 
to grind the end should be about 75° (see Fig. 16). The skew is sharpened on the 
oilstone. The bevel should be held flat on the stone, first on one side and then on 
the other, until the wire edge is removed. By continued sharpen- 
ing the chisel becomes rounded, as shown by Fig. 19, and must be 
ground again. Time is saved by grinding and sharpening promptly. 
Tools will cut faster and smoother when the cutting edges are "' keen 
and sharp " than when " blunt and dull." 

The round-nose scraping tool. This tool, shown in Fig. 20, is used 
(as its name implies) to cut by scraping rather than by paring. It is 
used on fillets and concave surfaces. The method of scraping is 
given on page 26. Sharpen the tool on the large oilstone, revolving 
it in the same manner as a gouge ; turn, and keep the flat side of 
the tool in contact with the stone. Grind it as you would the gouge. 

The square-nose scraping tool. This tool (see Fig. 21) is used in 
the same manner as the round-nose scraping tool, and is applied on straight and 
convex surfaces. Sharpen it on the large oilstone, just as you would sharpen an 
ordinary bench chisel. 



Fig. 21 



i6 



WOOD TURNING 



The diamond-point tool. This tool, sometimes named a " spear-point " or a 
'" right-and-left " tool, is used on inside work or on work where the ordinary skew 
chisel could not be used to advantage. Fig, 22 shows the general shape it should 

have, but the angle can be changed to 



/ 



suit special work. Grind the bevels as 
shown in figure ; sharpen on a slip 
stone. 

The cut-off or parting tool. Fig, 23 
shows this tool ; as its name implies, 
it is used to cut off v/ork where 




Fig. 22 



Fig. 23 



Fig. 24 



another tool could not be used to advantage. It is also used for "sizing" work 
(see Fig, 44 B as an example of its application in sizing). Grind to the shape shown 
in Fig, 23 and sharpen on the oilstone. 

The sizing tool. The sizing tool (Fig. 
24) is used on work where a number of 
pieces are to be of the same diameter, as, 
for instance, the dowels on the ends of 
spindles, and the ends of chisel handles 
where ferrules are to be used. Grind and 
sharpen, the same as the cut-off tool. 

Tools used for measuring. The calipers. 
The outside calipers (Fig. 25) are used to 
measure the outside diameters ; the in- 
side calipers (Fig, 26) are used for inside 
diameters of rings, holes, etc. 

The rule. A two-foot folding rule, graduated to sixteenths, makes a serviceable 
tool for measuring. 

The dividers. The dividers (Fig. 27) are used in many ways. Their application 
in measuring will be given with the problems with which they are to be used. 




Fig. 25 



Fig. 26 



TO TURN A CYLINDER 



17 



Tools used for sharpening. The slip stone. The slip stone (Fig. 28) is used to 
sharpen gouges and tools that are curved in their section. 

The oilstone. Oilstones are either natural or artificial. The 
so-called India oilstone is preferable for ordinary sharpening. 
Use oil on any stone when sharpening a tool. 

The strop. The strop is a piece of leather cut into such shape 
as to conform on its edge to the curve of a gouge. The side of 
the strop is used for tools that are flat or straight on the edge. 

Sizes of chisels and gouges. 
The size of a gouge or chisel 
is determined by its width. 
Turning chisels and gouges 

come in sizes ranging by eighths, from one eighth of an inch 
up to two and one-half inches. 

Lathe-tool practice.^ The art of wood turning cannot be 
learned from a book, but book instruction, supplemented by 
practice under the guidance of an instructor, will quickly enable the careful student 
to do good work. The exercises that follow are intended to teach the art of wood 
turning through various operations on the speed lathe. 




Fig. 28 



Fk;. 27 



EXERCISE I. TO TURN A CYLINDER 

Material : Gum wood, whitewood, pine 




LIVE CENTEIR END 



DEAD CENTER CND 
Fig. 29 



No simpler form can be turned than that shown in Fig. 29. It is a plain cylin- 
der, the dimensions of which, when finished, are 5" x i|". 

1 Read instructions before beginning any work. 



i8 



WOOD TURNING 




Turning makes use of two methods of cutting; namely, "paring" and "scraping." 
The student should give close attention to each method as it is applied in the vari- 
ous exercises, so that he may come to know which method is the better one to use 

on a given piece of work. 

To tiij-u the cylinder. The rough 
stock will be 2"x 2"x6", and square 
on the ends ; by drawing the diagonals 
as in Fig. 30, the center of the piece 
will be found at the intersection of the 
lines. Take a center punch or some 
suitable tool, and mark the centers ; 
then mount the work on the lathe. 
To mount the work. Place the point of the live center in the punch mark at one 
end ; then push the tail stock up toward the work until the point of the dead cen- 
ter is in the punch mark at the other end. Clamp the tail stock to the bed. Force 
the centers into the work by turning the hand wheel on the tail stock ; then loosen 
up the dead center until the cone pulley and the piece of stock revolve freely. 
Then set the tool rest and clamp it into position. Put a little oil on the dead cen- 
ter, and everything will be ready for the cutting. For the paring cut, the tool 
rest should be set as 
shown at A, Fig. 31, and ^^rp / a 

for the scraping cut, as — 
at B, Fig. 3 1 . 

The necessary steps to 
take in working out this 
exercise are shown in 
Fig. 32. 

The first operation in 
turning is called " roughing down." This is done by using the gouge. 

To jLse the gouge, notice the method of holding it, as shown in P'ig. 33. The 
left hand, back up, is placed on top of the gouge, which is held by the third and 
little fingers ; the right hand is at the end of the handle ; the elbows are kept as 
close to the operator's sides as possible. The tool is now laid on the rest, the fleshy 
part of the hand touching the rest. The body is as nearly " square on " to the lathe 





Fig. 



TO TURN A CYLINDER 



19 



as it is possible to be, and still have a natural position when at work ; it leans 
slightly forward, with the legs slightly apart and the left foot a little advanced. 
Commence cutting at 
the right-hand or dead- 
center end of the piece, 
and make the cut by 
raising the handle of 
the gouge with the right 
hand. This will cause 
the cutting edge of the 
gouge to go down int(j 
the work (see Fig. 34). 
By repeating the opera- 
tion until the other end 
is reached, the corners 
will be cut off. A 
straight sweep can now 
be made from end to 




Fig. 3: 



end by holding the gouge steady and swaying the body and hands. Do not twist 
the body or try to cut by moving the hands alone. Take one or two sweeping 
cuts; then try for dimensions with the calipers (see Fig. 35). Leave enough for 
the paring, or finishing, cut. 




Fig. 33 



Fi(i. 34 



The paring cut, or finishing cut, is made with the skew chisel. This cut is prob- 
ably the most difficult of all for the beginner to learn, but when it is learned the 
greatest difficulty in turning has been overcome. The skew chisel is held in the 



20 



WOOD TURNING 



same manner as the gouge (see Fig. 33). In applying it, hold the bevel on the 
work, as shown in Fig. t,6, the cutting edge held oblique to the axis of the work. 
The long or acute point must be kept clear of the work, and the short side of the 

chisel should be in contact with the rest. 

The an^rle at which the chisel is held to 




Fig. 35 



Fig. 36 



the axis of the lathe depends on three things : first, the amount of skew, or bevel, 

the chisel is ground at ; second, the height of the operator ; third, the adjustment 

of the rest on the lathe. 

As stated before, the angle of the acute point of the chisel should be about 75°; 

the adjustment of the rest is made by the student to suit his own height. 

In Fig. T^6 is shown a general view of the method of holding the skew ; if a 

student will take a jackknife and 
a soft piece of wood and begin to 
whittle it, he will observe that 
rarely does he hold the cutting 
edge of the knife at right angles 
to the piece, but obliquely, as in 
Fig. 37. Now compare the posi- 
tion of the edge of the knife with 
that of the edge of the skew 
chisel on the work, and it will be 
found that the edg-es of the two 

tools are held practically in the same position. In one case the material is held 

in the hand and the tool (knife) moves, while in the other case the material moves 

and the tool (chisel) is held steady in the hand. 




Fig. 37 



TO TURN A CYLINDER 



21 



For paring we repeat that the rest should be raised above the center, as shown 
in A, Fig. 3 1 ; and for scraping, it should be set as shown in B, Fig. 3 1 . Keep the 

eyes on the work rather than on the cut- 
ting edge of the tool, make the sweeping 
cut as explained on page 19 in connec- 
tion with the gouge, and hold the calipers 
as shown in Fig. 35 when trying for di- 
mensions. Work from the center of the 
piece toward the ends, rather than from 
the ends toward the center. See that the 
dimensions are correct for diameter. 
To cut the ends, use the long point of 
the chisel. The cutting might be termed "slicing," for in paring the end wood a 
light cut is made so that the work will be smooth, and that the point of the tool 
will not be " burned," or have the " temper " drawn by the excessive friction caused 
by a deep or heavy cut. Finish the dead-center end first ; then measure the length 
from this, using a pencil and rule or a pair of compasses. Fig. 38 illustrates the 

method of holding the chisel for the cut 

r 




Fig. 38 



at the right-hand or dead-center end. 




Fig. 39 



Fig. 40 



The piece should be cut far enough in from the end so that the " center marks " 
shall not be on the finished work. Fig. 39 indicates the motion the chisel should 
have in making the end cut. At the left hand (the live-center end) the cutting 
should be done as indicated in Fig. 40. 

After the ends are finished and the cylinder is cut to the correct length, remove 
from the lathe and saw off the surplus material at the bench, ^ 

1 No sandpaper is to be used, unless specified for given exercises. 



22 



WOOD TURNING 



EXERCISE II. TO TURN A STEPPED CYLINDER 

Material : Gum wood, whitewood, pine 

This exercise begins in the same manner as the first one ; the necessary steps 
to take in working this out are shown in P^ig. 42. After the piece is turned to a 
cyHnder and marked with the dividers, as at C, Fig. 42, proceed to cut off the sur- 
plus stock with the gouge, as indicated by dotted lines at C in Fig. 42. Thtn paj-e 
to dimensions given in the working drawing (Fig. 41). (Care should be taken in 









T 




Fig. 41 

cutting the ends. Do not cut to the line at first when cutting with the skew chisel, 
but leave a little to make a finishing cut.) The method of cutting the ends is the 
same as shown in Pigs. 39 and 40. 

The end steps of the cylinder are now marked and pared off as in E and F, 
Fig. 42 ; the final cutting in the lathe is as shown at G, Fig. 42. Saw oft the live- 
center and dead-center ends and finish at the bench. 



EXERCISE III. SOCKET CHISEL HANDLE 
Material : Apple wood, hickory 

All work turned on the lathe on centers is commenced in the same manner as 
in Exercises I and II. It will be unnecessary in this manual hereafter to repeat 
the preliminary operation for mounting the work on centers on the lathe, roughing 
down, etc. 

In Fig. 43 is shown the working drawing. In procuring the stock have it a 
little longer than the finished exercise, and before commencing the work lay out 
your plan of procedure. 



SOCKET CHISEL HANDLE 



23 




Fig. 42 



As the chisel handle is 
intended for a socket chisel, 
it would be advisable to 
have a chisel in which to 
fit the end, since all chisels 
are not of the same taper. 
If the chisel is not at hand. 
and the handle is to be 
used later, leave the live- 
center end on the handle, 
so that it can be replaced in 
the lathe and fitted into the 
chisel. The dead-center 
end will not be cut as in 
Exercises I and II, but this 
end of the piece will be the 
point to measure from. 

The operation, after the 
piece is turned to a cylinder, 
will be understood from 
Fig. 44 A and Fig. 44 B. 
This is known as "sizing." 
Take the cut-off tool and 
size the several diameters, 
as shown in the illustration ; 
then finish the outline of 
the handle with the gouge 
and chisel. Finish the work 
with sandpaper. In using 
sandpaper care should be 
taken not to cut away sharp 
corners. Hold the sand- 



paper (after folding it in a narrow strip) on the work by the index and middle fingers 
and keep it moving back and forth ; the quicker the motion the better, as then no 



24 



WOOD TURNING 




Fig. 43 

rings will be left in the work. Use No, 1 1- sandpaper at first, then No. ^ or No. o. 
After the work is sandpapered sufficiently, apply a coat of shellac varnish, brushing 
it on while the lathe is at rest. Then take a dry cloth, start the lathe, and wipe 





\ 


/ 

/ 


~~ "^ ^ 


"^ 




/ 


\ 


^ ' 


,-'■ 



L 



;3" 



Fig. 44 A 

off the surplus shellac. Care should be taken that the cloth does not stick and get 
wound on to the work. Fig. 45 illustrates the method of using the cloth. 




Fig. 44 B 



Fig. 45 



This method of finishing gives fairly good results, but it is not intended to 
imply that this is the only method of finishing. Other methods will be given later. 



SOCKET CHISEL HANDLE 25 

OBIA^D CENTER END 




Fig. 46 




Fig. 47 

When a number of liandles are to be turned, time will be saved by making a 
templet such as is shown in Fig. 46. The several diameters are cut on one edge 
of a piece of thin sheet iron, and notches are filed on the other edge to locate 
the positions to be cut while sizing. 



26 



WOOD TURNING 



EXERCISE IV. TEAPOT STAND 




Fig. 48 



Material : Oak, mahogany, cherry, ash, or any hard wood that will finish well 

In Fig, 47 is shown the working drawing for this piece of work. The methods 
used are applicable on such work as rosettes and similar pieces. 

The previous exercises were turned on the centers, that is, the piece was sup- 
ported on the lathe by the live center and dead center. In the present exercise the 

screw-center chuck B, Fig. 7, is used. The method 
of cutting is termed " scraping." 

The scraping citt. This cut is made by laying 
the chisel flat on the rest instead of tilting it up, 
as in the paring cut. The chisel should be kept 
sharp and the scraping or cutting should be done 
lightly in order to obtain a smooth surface. To 
fix the rest for this piece and to turn the disk, 
see the illustrations, Figs. 48 and 49. These 
illustrations show the piece with the corners cut 
off, the rest set across the face, and the skew chisel in position for cutting off 
the corners and squaring up the edge. 

The diameter of the disk can be measured off with the compasses. Start the lathe ; 
set the compasses to the radius and 
place one point on the center of the 
piece, bringing the other point down 
on the rest and pushing it against 
the face of the piece. The line will 
be marked while the piece is re- 
volving. 

The back corner of the piece is 
liable to split off if the chisel is 
pushed all the way across, so that 
about \ of an inch should be left uncut ; then set the rest across the edge 
(see Fig. 49), cut off the material with the gouge, and scrape smooth with the 
skew chisel. 






Fig. 49 



CANDLESTICK 



27 



When the piece is turned to diameter "face it off," that is, smooth the side 
by using the skew chisel. (The rest should be set across the face.) Move the chisel 
from the edge iti toward the center, and back again toward the edge. A "' straight 
edge " should be used to test the work for " trueness." 

To turn the molding on the edge, use the round-nose scraping tool for the con- 
cave curve and the square-nose or skew chisel for the convex curve. When all the 
cutting is done, finish the piece with sandpaper ; then apply a coat of wood filler 
(see note on wood filler in Appendix), let it set a few minutes, and then wipe it off 
with waste or excelsior ; let the filler harden, and the work will be ready for polish- 
ing. To polish, use a rag. on which are a few drops of linseed oil and shellac, and 
apply while the work revolves on the lathe. Be careful not to get too much oil or 
shellac on the work. If too much shellac is used the work will appear smear}', and 
if too much oil is used it will appear greasy. 



EXERCISE V. CANDLESTICK 

(Templet and Chucking Exercise) 

Material : Whitewood, birch 

Erom the illustration. Fig. 50, we see that there are two pieces to be turned for 
this article. The up- 
right (Fig. 51), which 
is turned first, is 
mounted on the lathe 
on " centers." The 
cutting of this piece 
will be paring. In 
previous exercises the 
method of paring was 
explained for straight 
work ; in this exercise 
there are convex and 
concave curves to be 
cut. The method of 
cutting concave curves 




Fig. 50 



28 



WOOD TURNING 



will be understood from the illustration, Fig, 52. The necessary steps in working out 
this part of the exercise are shown in Fig, 53, To cut the concave curves, use the 
small gouge and cut, as shown in Fig. 52, which shows three positions. Make a clean, 
smooth cut. For the convex curve use the small skew chisel. (See Fig. 54, which 
shows the method of cutting.) It would be advisable for the student to practice 
cutting the curves on a waste piece of stock before trying the exercise. In cutting 
the curves swing the handle of the chisel or gouge with a full movement. Notice 
that if the tools slip and dig into the work, it is due to the fact that they are held 
in one direction while the student is trying to make them cut in another. Make 




Fig. 51 



the direction of the tools correspond with the direction of the cut. TJie hole i)i the 
end is ttirned after the piece has been fastened with glue into the base. 

To turn the base (Fig. 55) a face plate (see C, Fig. 7) is required, and as no 
screw holes are to be left in the work when finished, a study of the method of 
operations is necessary. 

The stock from which the base is turned is fastened with screws to the face plate ; 
the side nearest the face plate will be the top or upper side when the piece is fin- 
ished, so that the bottom side of the piece will be turned first. The edge is cut in 
the same way as explained in Exercise IV. 

In order that the wall may be of equal thickness, " templets " are used. A temp- 
let is a form or pattern cut out of thin material, and is used on the work as shown 
in Figs. 56, 59. 



CANDLESTICK 



29 




Fig. 52 



30 



WOOD TURNING 





Fig. 53 



To make the templets. To make the templets, lay them out as illustrated in 
Fig. 57. Use a coping saw to cut the two templets apart, then finish up to the 

lines by using a sharp knife. After the 
templets are cut out and the work mounted 
on the lathe, cut the edge of the piece to its 
largest diameter, and then " face it off," using 
the large skew chisel to cut with. The next 
step would be to cut the bottom to its di- 
ameter and depth (see B, Fig. 56), using the 
skew chisel in cutting. After the bottom 
member has been cut into shape, cut the 
side, using the templet to get the correct 
shape. In using the templet notice that 
there are two points, A and B, that are used 
'■ ^ as guides (see Figs. 56 and 59). The tools 

used to cut the side should be the round-nose scraping tool and the skew chisel. 
When all cutting on the outside is done, sandpaper the work smooth, and color 
with some of the stains described in the Appendix. One of the dark stains would 
be all right for this article. 




Jl 



CANDLESTICK 3 1 

The finish should be either shellac or wax. To finish with shellac, the work can 
Idc either a rubbed finish, like Exercise IV, or a two-coat finish and rubbed with 
pumice and oil. or water (see Appendix). The wax finish is applied with a ra<:; and 
is left to dry for a short time, and is then polished with a dry, soft cloth, while the 
lathe is in motion. 




When the surface is finished the work is taken off the face plate and "chucked"; 
that is, the work has to be turned around so that the side which was against the 
face plate would be out. To do this, a piece of wood is fastened on the face plate 
and a recess is turned into it, as shown in Fig. 58. The piece of work is held in 
the chuck by friction, a good tight fit being all that is needed to hold it. This 
operation is termed " chucking." When the piece is chucked and the work revolves 
true, commence to cut it out, using the round-nose scraping tool ; then finish with 
the square-nose scraping tool or the skew chisel. 



32 



WOOD TURNING 



OUTSIDE 
TEMPLET/ 




nside: L 

TErvlPUET 



lime: of- Rirvi 



Fig. 57 




Fig. 56 



Fig. 58 



CANDLESTICK 



33 



The templet applied to the work is shown in Fig. 59. After the piece has been 
cut into shape, turn the hole in the hub as shown in the working drawing, fit and 
glue the upright in place, being careful that it is fastened true ; when the glue is 
dry, turn the hole (which holds the candle) ; sandpaper the work smooth, and 
"finish " the same as the other side. 




Fig. 59 



The principles underlying work of this character are very important to the student 
who intends to take up pattern making ; the principles and methods are applied 
extensively in the turning of patterns. As a supplementary lesson the student should 
be encouraged to design pieces of work in which the same principles are applied as 
that given in connection with the candlestick ; that is, a piece that would require 
templets and also chucking to work it out. 



34 



WOOD TURNING 
EXERCISE VI. MALLET 



Material : Apple wood or hickory 

The general drawing, Fig. 60, is what is termed a tabulated drawing ; letters 
instead of figures are used on the drawing. To obtain the dimensions of any of the 
mallets numbered 1,2, and 3, look along the space opposite the number and under 
the letter, where the dimension will be found. 



r- 
o— 

L. 



I^K-l 







--, 








v 


::^.-. 




T 1 












Q 

..io 



B 




U-.F- 



NO. 


>^ 


^ 


c 


CD 


El 


F^ 


G 


M 


1 


U 


K 


L_ 


J 


1 " 
II2 


5F 


si" 


2*' 


2—" 




1 " 


_LL" 
IS 


)3" 
16 


-i-" 


3 " 

-4- 


t" 


2 


iz" 


sf 


Si- 


Si" 


2^" 
"^8 


^8 


iTk" 




•7 " 
S 


3 " 


3 " 

-4- 


3 " 

e 


3 


'2i" 


ix 


Si:" 


2 ft" 


2 5." 


2-Z." 


li-" 


13" 
1© 


J5" 

16 


•7 " 
a 


3" 


3 " 

"8 



Fig. 60 



There is no doubt that a much smoother piece of work can be obtained from the 
paring cut than from the scraping cut. In working out this problem, use the par- 
ing cut on the handle and the scraping cut on the head. 



MALLET 



35 




I'K,. ^'1 



First turn the handle to its largest diameter ; then turn that portion of it which 

goes through the head, and, instead of using the calipers for the diameter, use a 

gauge made out of thin stock. The gauge is shown in Fig. 6i . 
To make the gauge. The hole is bored with an auger 

bit corresponding to dimensions given in the table. The 

gauge is hung on the dead center so that it will not be 

necessaiy to remove the work from the lathe when tr)'ing 

for size. Leave this part of the handle a little longer than 

the diameter of the head so that it may be finished off flush 

when the mallet is put together. 

In cutting the curve on the handle, notice that it is a 

long curve and not a series of curves. The curv^e is cut with the gouge. The 

lines on the handle are decorative, and are cut with the point of the skew. 
When all cutting is done, sandpaper smooth, give a coat of shellac, lay it aside 

to dry, and before fitting it into the head, put it back into the lathe and smooth 

off the shellac with fine sandpaper. 

To work out the head. After turning the 
cylinder to the largest diameter, mark the 
center line with the chisel point, then meas- 
ure equal distances on each side of it. Pos- 
sibly the only point that need be mentioned 
is the " fillets," that is, the small curves 
where the two diameters meet. These can 
be cut with the small gouge or round-nose 
scraping tool ; in cutting the ends, use the 
parting tool. The lines on the head are also 
decorative and are cut in the same way as 
those on the handle. When the head is 
turned, finish in the same manner as the 
handle, with sandpaper and shellac. 

To fasten the handle into the head. That 

part of the handle which fits into the head should be split with a saw cut, about 

half its length ; the hole in the head should be bored true. To get the hole true, 

points should be marked on each side and the hole bored in from these points. 




36 WOOD TURNING 

To locate the points to bore for the handle. To lay out the hole, take a compass 
and set it to the radius of the larger circle, that is, largest diameter. Commence at 
a point selected on the center line and space off three spaces on one side, then go 
back to the starting point and space off three spaces on the other side. Most likely 
it will be found that in spacing, the points will not meet (see A, Fig. 62). Divide 
this space equally ; this will give the point on which to bore ; the first point will be 
the point to bore on the other side. 

In boring, it might be well to have some one to " line up " the bit, that is, to see 
that the bit is held at right angles to the axis of the cylinder. When the hole is 
bored, drive the handle into the head and fasten it in with a wedge, having the 
wedge in the position shown in the drawing. 

The next step is to trim and smooth all ends and finish with shellac. Two coats 
of shellac will be sufficient. 

EXERCISE VII. CANDLESTICK 
Material : Mahogany, birch, cherry, oak, or maple 

This piece of work (Fig. 63) is made of two parts ; the upright being turned 
between centers and the base on the screw chuck. 

In turning the beads on the upright, care should be taken while using the chisel, 
so that it will not slip. Roll the chisel to follow the curves with a full swing. In 
cutting beads, it might be well for the pupil to practice on a waste piece ; some of 
the miscellaneous exercises given at the end of this manual could be selected 
for practice. 

The base is cut plankwise of the stock in the same manner that the base in 
Exercise V is cut. The hole in the top is turned after the upright is fastened 
into the base. 

An ebony, or any of the dark stains, is peculiarly appropriate for this piece 
of work. 

EXERCISE VIII. NAPKIN RINGS 

(Bell Chuck Work) 

Material : Birch, maple, apple, or any close-grained hard wood 

The methods of turning, given in connection with this exercise, are applicable 
to hollow work, such as cups, vases, etc. 



NAPKIN RINGS 



2>7 




Fig. 63 



38 



WOOD TURNING 



First, the stock is placed in the lathe between centers and turned to a cylinder. 
The end of the cylinder is then turned down small enough so that it can be driven 
into the bell chuck (see A, Fig. 7). The bell chuck is then screwed on to the 
spindle of the lathe, and the interior of the napkin ring is turned out. Use the 




Fk;. 64 



inside calipers to measure with. The outside is turned next, and the ring is then 
sandpapered and finished, either shellac or wax finish being used. 

When the ring is finished, cut it off, using the cut-off tool, and chuck it. Chuck 
it on what remains of the stock from which the ring was turned. This is done by 
turning the end small enough for the ring to slip over it snugly. After chucking, 
finish the end. 



SMALL BOX 



39 



To make a substitute fo?- a hell chuck. Where no bell chuck can be had, a substi- 
tute for a bell chuck may be made by using a wood face plate, turning out a hole in 
the center to receive the stock. To make it doubly secure, the stock may be glued 
into the face plate. 

Sometimes such work is fastened on the screw-center chuck. Wlien the piece 
is lonir. this method of holding: it is not advisable. 



EXERCLSE IX. SMALL BOX 

Material : Mahogan)', birch, cherry 

The student should always keep in mind that there is usually more than one way 
in which a piece of work can be made. The method given with this piece is one 
that is used extensively in pattern making. 




Using glue and paper to viount the zvork. In preparing the stock for the lathe, 
proceed as follows : first, secure an iron face plate (two if convenient, one for the 
bottom, and one for the cover of the box), fasten a wood face plate to it, and turn 



40 



WOOD TURNING 




Fig. 66 



SMOKERS' SET 



41 



it true. Cut the corners off the pieces from which the box is to be made, glue a piece 
of paper on the face plate, then glue the stock to the paper and clamp with a 
hand screw. When the glue is dry the piece is ready to be turned. Methods of 
turning are the same as in Exercise V. When the inside and outside of the box 
is turned, sandpaper, stain, and finish. (Use some of the stains and finishes given 
in the Appendix.) 

To remove the ivork from tJie face plate. To remo\-e from the plate, drive a 
chisel between the face plate and the box. The paper will split. Chuck the work 
on the plate to finish the bottom. 

The inside of the cover should be turned first ; this will be the better way, for 
the groove and flat surface give a better chance for chucking than the rounding 
side would. Mnish the same as the body, then chuck it and turn the outside of 
the cover, and finish. The use of paper on the face plate does away with all screw 
holes in the work. 

EXERCISE X. SMOKERS' SET 
Material : Cherry, birch, oak 

The design given here is only suggestive ; the student may submit an original 
design to the instructor before undertaking to make this piece. 

The methods of turning in this exercise are a combination of the methods pre- 
viously given. To a great extent the pupil should rely on his own skill and ability 
in working out this piece. 

Staining and finishing should all be done before the pieces are removed from 
the chucks, being careful not to get the " finish " on the parts that are to be glued 
to the base. Glue will not stick to varnish or shellac. 

EXERCISE XI. TOWEL RAILS 

Material : Birch, oak, ash, cherry, or maple 

In the figure is shown the assembly drawing of this piece of work. The student 
should study out the pieces from it, instead of having a detail drawing of each piece. 

In regard to the " arms " or pieces that support the arms, the worker will notice 
that they are pieces which are turned up on centers, and previous instruction will 
suffice for these. The balls on the supporting pieces are turned in the same manner 



42 



WOOD TURNING 



as that given in connection with the convex curve on the upright piece of the 
candlestick, Figs. 54 and 69. The curves are pared, using a right and left cut ; 
the shape of the balls is judged by the eye instead of using a templet. 





Fig. 68 



To turn a ring. The ring is turned in the following manner : The stock is pre- 
pared by cutting off the corners. The face plate or screw-center chuck is then 

fastened directly on the piece, care being taken to see 
that the screws are not placed into that portion of the 
piece from which the ring is to be cut. 

To make the templet. The templet is made by 
boring a hole of the exact di- 
ameter, through a thin piece of 
stock ; the piece is then cut in 
halves, as shown by the dotted line in Fig. 68. 

When everything is ready, screw the face plate on to the 
spindle of the lathe, set the rest, and turn off the outside to 
the required diameter and also "face" off the side of the 
piece. The next step is to measure /;/ from the outside edge 
the thickness of the ring, and then cut away as much of the 
surplus stock from the center as is possible without striking 
the screws. Round off the corners, using the templet fre- 
quently so that the correct shape may be obtained. In 
Fig. 69 is shown the piece ready for rounding. 

When the ring is formed as far as it is possible to 
do so on the first side, sandpaper it smooth ; then take it from the face plate 
and chuck it. 




Fig. 6g 



ROLLING PIN 



43 



To cJuick the work. The scheme of chucking will be understood from Fig. 70. 
When the piece is chucked, cut out the center and proceed to finish the ring. 
Care should be taken to see that the " section " of the ring is a true circle. 

When all the rounding is done, sandpaper, and then 
flatten off the side as shown in the drawing. Finish 
by using any of the finishes given in the Appendix. 



EXERCISE XII. ROLLING PIN 
Material : Maple 

The work that follows in this manual is, to a con- 
siderable extent, a repetition of methods previously 
given ; for this reason the sequence in which the draw- 
ings are placed need not be taken into consideration. 

The rolling pin shown in Fig. 71 is commenced in 
the same manner as that given in connection with any 
piece that is turned up on centers. The stock should 
be a little longer than the finished article in order to 
get rid of the center marks on the ends. (The worker 
will observe that the larger the cylinder, the larger the skew chisel should be, to 
make the paring cut.) 

After the piece is turned to its largest diameter, lay off the distances for the 
handles and cut off most of the surplus stock with the gouge, after which cut the 




Fig. 70 



CHHx 




Fig. 71 

handles to their largest diameter and then form them by cutting with the gouge, 
being careful that the side of the gouge does not dig into the end of the body of 
the roller. 



44 



WOOD TURNING 



When all the cutting is done, finish with No. li, No. ^, and No. o sandpaper, 
after which remove from the lathe and finish off the ends of the handles at the 
bench. 

No oil or varnish of any kind is used on this piece of work. A screw eye may 
be put into the end of one of the handles to hang it up by. 

EXERCISE XIII. POTATO MASHER 

Material : Maple 

The methods applied on this exercise are practically the same as those given in 
Exercise XII. 

In this piece of work long convex curves and short concave curves are the 
special features. All the cutting may be done with the gouge, with the exception 

-6'fi 




Fig. 72 

of the ends which require the chisel to finish, or both the gouge and the chisel may 
be used on the side. 

Finish with No. 1I-, No. i, and No. o sandpaper. (Neither oil nor varnish is 
to be used on this piece.) When the work is finished on the lathe remove and 
trim the ends at the bench. 



EXERCISE XIV. CARD RECEIVER 

Material : Cherry, oak, mahogany, birch 

In work of this character it is advisable to use a templet for both the outside 
and inside. As before stated, when a templet is used, two points are required as 
guides in placing it. In making the templets use thin stock, long enough to 



CARD RECEIVER 



45 



reach across the work so that a bearing may be had on both sides of the piece. 
Figs. 56 and 59 show templets bearing on the two points. The outer edges of the 
card receiver would be the points of contact for the templets in this case. 

In preparing the stock for the lathe the material should be mounted on a wood 
face plate fastened to the regular iron face plate. To do this the method and 




Fig. 73 



instructions given in connection with the box on page 39 should be followed ; that 
is, glue to plate with paper between. 

When the piece is finished and sandpapered, it will be better to chuck it in order 
to smooth off the bottom, although this is not absolutely necessary, as the bottom 
may be finished off with the plane at the bench. 

The finish and stain to be used will depend on the kind of wood. The dif- 
ferent stains and finishes will be found in the Appendix. 



46 WOOD TURNING 



SUPPLEMENTARY EXERCISES 

Many useful and ornamental pieces of work can be turned out on the speed 
lathe ; light- and dark-colored woods in combination, formed into designs, are often 
used to produce effects on turned work that are artistic ; and the student is advised, 
whenever possible and time permits, to design and build up pieces of such work 
where the contrast between the woods will be marked. The results will more than 
compensate for the trouble and work of glueing up the stock. 

In preparing stock for such work the surfaces should be planed to a perfect fit 
before being glued together, as a poor joint would be likely to ruin the work while 
being operated on in the lathe. 

In the following supplementary exercises there has been no effort made to intro- 
duce what is usually termed " fancy turning," such as the turning of elliptical forms, 
turning balls inside a ball, turning loose rings on a spindle, trefoils, and work which 
requires much manipulation in chucks. The projects selected are ones which the 
average student should be able to carry out successfully, in view of his previous 
experience. Students are advised, at this stage, to submit original designs to the 
instructor in charge, that the difficulties connected with the execution of these 
pieces may be made subjects for class discussion. 

The exercises, Figs. 74 to 87, are intended to supplement previous work, and are 
also suggestive for larger pieces and practice in developing speed in turning out 
work on the lathe. 

The names of the following pieces are given as suggestions for the student to 
design. When a large piece is turned, it is rarely turned from solid stock, but is 
built up. In designing a piece this should be taken into consideration, so that the 
joints may not be too conspicuous, unless the woods were light and dark, when the 
joints should be absolutely symmetrical with the axis of the piece. 

Names of pieces. Piano stool (may be combined with a piece of bench work), 
legs for colonial table (the top and shelf would be bench work), serving trays, 
bread boards, table mats, candlesticks, bowls for nuts, rose jars, vases, spindles for 
furniture, legs for pieces of furniture, pedestals, base and pen rack for ink stand, 
foot rests, game boards, circular hand mirrors, collar and cuff box, jewel boxes, 
walking sticks, match safes, etc. 



SUPPLEMENTARY EXERCISES 



47 




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48 



WOOD TURNING 




SUPPLEMENTARY EXERCISES 



49 



5^ 




Fig. 'jd. Bowl 

(Material : Birch, Oak, Walnut) 

This piece should be mounted on a face plate with glue and paper, and templets should be used to 
cut by. This article is very useful on a library table as a catch-all, and if for any reason a cover is 
needed for it, one may very easily be designed. Finished in dark mahogany it presents a very 

^. pleasing effect 



50 



WOOD TURNING 




Fig. 77. Plate 

(Material : Black Walnut, Maple, Cherry, Mahogany, Oak ) 

Use glue and paper to hold the material on the face plate, and templets to work by 



SUPPLEMENTARY EXERCISES 



51 




.< I 




^ 



3 






~ r t 












Fig. 78. Picture Frame 
(Material : Birch, Mahogany, Oak, Cherry) 



52 



WOOD TURNING 





Fig. 79. Powder Box. (Material : Oak, Cherry, Mahogany) 



SUPPLEMENTARY EXERCISES 



53 




-1^ 






Fig. 8o. Cup. (Material : Oak, Cherry, Birch, Walnut, Mahogany) 
An attractive piece of work may be made of this, if built up of a combination of colored woods 



54 



WOOD TURNING 




Fig. 8i. Dumb-Bell. (Material: Maple) 
Use a templet to work by 



^"^-fhrirh-^-HftH/t^.^'- 



o 



SUPPLEMENTARY EXERCISES 



55 




Fig. S3. TuRxiXG Tool Handles. (Material: Hickory, Apple) 

Lathe tool handles are often broken by accident and must be replaced. In turning a handle, the size 
of the tang of the tool should be taken into account when procuring the ferrule. The drawings 
given above are for handles suitable for a i-inch cut-off tool, a ^-inch or |-inch skew chisel or gouge, 
and a ^-inch or |-inch skew chisel or gouge. For larger tools the handles should be increased a little 

in diameter but not in length 



56 



WOOD TURNING 




DETAIL- OF RIMS 
a -WANTED 



Fig. 84. Towel Rings. (Material : Cherry, Maple, Birch) 



SUPPLEMENTARY EXERCISES 



57 




/ 



Fig. 85. Vase. (Material : Whitewood, Birch, Cherr\% Mahogany, or build up of light and 
dark woods, such as Cherry and Black Walnut) 

Use the bell chuck 



58 



WOOD TURNING 



S NIPPLE TO BE USED 

-/I— t //SHADE SUPPORT 




Fig. 86. Lamp Standard 

(Material : Oak, Mahogany ; finish 
with dark stain) 

The hole for the wire should be 
bored before placing in the lathe. 
Turn small plugs to place in the hole, 
at the ends, to support the piece. 
The base should be mounted on a 
screw-center chuck ; the upper side 
turned first and finished ; then it 
should be chucked so that the recess 
in the bottom can be turned. The 
hole on the edge will be bored with 
a bit 



SUPPLEMENTARY EXERCISES 



59 





Fig. 87. Stocking and Glove Darner 
(Material : Maple, Cherry, Birch, or build up of light and dark colored woods) 



6o 



WOOD TURNING 



PARTED OR SPLIT WORK 

Methods for turning a piece of " split " work, such as would be used for decora- 
tive purposes on flat surfaces. In Fig. 88 is shown a piece that is semicircular 
in section, such as would be used in connection with moldings on flat surfaces, 
where they are " planted on " as decorations. 

In some cases it is customary to finish the end of a straight piece of molding 
with a " final," such as is shown in the figiu-e. In order to produce this piece so 
that one side will be flat, several methods are made use of in preparing the stock 
for the lathe. {These nictJiods arc also used on sneJi work as tin-ued pilasters and 




Fig. 88 



on parted cylindrical patterns.) For convenience the methods are numbered, 
No. I being given the preference, as in most cases it saves time but uses a trifle 
more stock. 

As indicated in the cuts, two pieces of stock are used in working out problems of 
this kind. The surface of each piece should be planed true before being fastened 
together. 

Method I. Fig. 89 shows this method where screws are made use of to hold the 
pieces together. That part of the stock in which the screws are placed should be 
outside of the exercise so that there will be no holes in the work when finished. 



PARTED OR SPLIT WORK 



6l 



Method 2. In Fig. 90 is illustrated the method where glue and paper are used 
to hold the pieces together. The glued surfaces should be outside of the exercise, 
as indicated in the figiu'e. 




Fig. 89 



Fig. 90 




Fig. 91 



Fig. 9: 



Method J. Fig. 91 illustrates a method where corrugated nails are made use of, 
and for very light work this method is an excellent one. 

Method ^. Fig. 92 illustrates a method where pinch dogs are used, and in con- 
nection with method No. i is often used on heavy work. 

Method ^. Where much of this character of work is done, special attachments 
are used on the lathe, which are practical and time-savers. These attachments can 



62 



WOOD TURNING 



be made of wood in connection with the face plate. Fig. 93 shows the attachments. 
The pieces from which the work is to be turned should be fitted snugly between 
the jaws of the chucks. The screws shown are filed sharp, the work is driven 
between the jaws, and the points of the screws hold it from slipping sidewise. For 
the dead-center end, a cone center and a small plate fastened to the wooden plate 
make a serviceable chuck. These chucks can be made of cast iron, and would be 
valuable additions to any wood-turning room equipment. 




f=-RONT 

OF- 
CHUCK 



tc 




A METHOD FOR HOLDING TWO Rl ETCEIS 
TOGEITMER ROR SRLIT WORK 



Fig. 93 



MISCELLANEOUS TURNED MOLDINGS 



Possibly there is no more fascinating work on the lathe than that of " rolling" a 
bead or cutting a " hollow." Often the beginner, after having had a little practice 
on the lathe, is at a loss for some design to practice on and work out. 

In order that the pupil may have something to guide him, the "' plates " of 
turned moldings have been added to this manual, and in them may be found com- 
binations of beads and fillets of almost any design. 

From the designs an instructor may arrange a series of exercises for practice in 
the paring of beads and hollows, or, if turned up in long lengths, the molding can 
be used in the decorating of corners or flat surfaces. Some of the designs could be 
enlarged and used as chair spindles and legs. The designs are also suggestive for 
grill work and fire-screen panels. 



MISCELLANEOUS TURNED MOLDINGS 63 

In using the designs for exercises the material should be close-grained wood, 
such as whitevvood or red gum. Pieces for spindles, legs, or moldings should be 
stained and finished before the center ends are cut off. It is easier to finish such 
pieces on the lathe because of the irregularity of the surface. 





J;«««J^;^^Jj;mj^^ 




Plate I 



Plate II 



64 



WOOD TURNING 





mmo^^mocMc 




Plate III 



Plate IV 



MISCELLANEOUS TURNED MOLDINGS 



65 




Plate V 



Plate VI 



APPENDIX 

There has possibly been no greater progress made in any art in the past few years than 
that which has been made in the art of staining and finishing woods. This, we believe, is 
to a great extent the result of the "Arts and Crafts " movement, which has brought out 
many new shades in dyes and stains, and new methods of finishing. 

There are on the market many beautiful stains and finishes which give pleasing results, 
but to the pupils who wish to make some experiments of their own the following recipes 
are given. 

It should always be kept in mind that a small piece of work is much more easily fin- 
ished than a large piece ; especially is this true when water or spirit stains are used. Any 
one using these stains should be careful to have them applied in such a manner that the 
staining will not show laps. This difficulty is not met with in using oil stains, as they do 
not dry out so quickly as the others. 

The materials used in staining are many, and may be divided into five classes; namely, 
alkali, aniline, acid, mineral, and vegetable stains. Some colors are of such a nature that 
they fade and necessitate " setting," or " fixing," with a mordant. The materials mostly used 
to fix a color are sulphate of iron, commonly known as green vitriol or green copperas, 
and alum. The quantity to use for a solution is two ounces of either copperas or alum to 
a quart of water. Place the material in a cloth and suspend it in the water where it will 
readily dissolve. Copperas is also used in connection with the ebonizing of wood. 

The following list of stains and finishes does not exhaust the subject, but these are 
given as the most simple ones for the beginner to use. 

Before applying a stain or finish of any kind, the wood should be thoroughly smoothed 
with tools and sandpapered. Hard woods should be planed, scraped, and sandpapered, thus 
eliminating all rough and dull-looking spots. This is absolutely necessary in order to obtain 
a good " finish." 

There are possibly no more simple finishes to apply than linseed oil and finishing wax. 

To finish with linseed oil. When the work is thoroughly prepared, apply a coat of lin- 
seed oil and allow it to stand for a time, then rub with a soft cloth. Let the work dry 
and then apply another coat of oil. Repeat the operation five or six times. When the oil is 
thoroughly oxidized, rub with a cloth until a gloss is obtained. In fact, the time never 
comes when a little more rubbing will not improve a surface finished with linseed oil. 
' 67 



68 WOOD TURNING 

This finish has a quality that is greatly overlooked ; namely, that it is not easily marked 
with hot dishes or water. 

To finish with wax. Finishing wax can be applied on almost any stain, or it can be 
applied directly to the wood. When it is rubbed down it gives a dull gloss. It is a rather 
soft finish, is easily marred, but has the advantage in that it can be refinished without 
much trouble. 

Apply the wax on the article with a cloth, let it stand for a few minutes, then rub off 
with a soft cloth. To polish, use a fairly hard brush. To refinish, repeat the above operation. 

To make finishing wax. Cut beeswax into small pieces, and, with twice as much turpen- 
tine as there is wax, place in a vessel and apply a moderate heat which will help to soften 
the wax. 

The vessel should not be placed over the fire. 

The wax should be of the consistency of vaseline ; if too thick, thin with turpentine. 

To finish with shellac. In using shellac care should be taken to see that the solution 
is not too thick ; when too thick, thin with alcohol. 

In finishing a turned piece, brush on a fairly heavy coat of the shellac varnish ; then, 
while the lathe is in motion, rub the surplus off with a cloth, before it hardens. This will 
give a good finish for chisel handles and similar articles. 

On flat surfaces the shellac should be brushed evenly and not too heavy. To obtain a 
glossy surface, three coats are necessary. After each coat the surface should be smoothed 
with fine sandpaper (using No. oo) before applying the next. 

To rub a shellacked surface, use felt, and rub down with powdered pumice and water. 
To polish the surface of a piece on the lathe, use shellac and oil, being careful not to use 
an excess of either. A little experience will determine the exact amounts. 

To cut shellac. Put any quantity of gum shellac in a vessel (either earthen or glass, 
but not tin or iron), cover it over with alcohol, stir it frequently. It will take about 
four to eight hours to reduce the gum to liquid fonn. 

To lighten shellac. Shellac will become dark colored when kept in a tin or iron vessel. To 
clear it, add about one heaping teaspoonful of oxalic acid to a quart of liquid shellac. It is not 
advisable to use the oxalic acid often in the same solution, as the mixture deteriorates. 

To finish with varnish. Usually a surface that is to be finished with varnish is first 
filled (see Filler) after staining, or the filler may be colored, thus staining and filling 
with one operation. 

After the surface is filled, the pores of the wood should be sealed ; it is found best to 
seal them by applying a coat of shellac. After the shellac is dry it is smoothed with sand- 
paper, and then a coat of varnish is put on and allowed to dry. (A mistake usually made 
on varnished surfaces is, that each coat is not allowed to dry. sufficiently before the next 



APPENDIX 69 

coat is applied.) Before putting on a fresh coat of varnish the surface should be smoothed 
with either No. 00 sandpaper or haircloth. 

When the required number of coats are spread on the work and dried sufficiently, the 
surface can be left glossy, or it can be rubbed with powdered pumice and water, giving 
an eggshell gloss, or it can be polished. To polish, rub with pumice and water, then 
polish by rubbing with rotten stone, finally using finely powdered chalk. Give the surface 
a final rubbing with the bare hand and clean off with a piece of chamois skin or soft 
silk. A little experience is necessary to determine how much rubbing is required. The 
condition of the work will usually determine this. 

Fillers. Ready-to-use fillers can be obtained in the open market ; they save time. 

Many materials are used as a base in the making of fillers, such as whiting, cornstarch, 
silex, fiour, etc. The material which we believe to be the best is silex. 

To make light fillers. To make the filler, take a quantity of silex and mix it with lin- 
seed oil into a stift paste ; then add a small quantity of Japan drier in the proportion of one 
tablespoonful to one quart of paste. Mix thoroughly, thin to the proper consistency with 
turpentine or benzine, and apply with a brush; let it ''"' set " for a time, then rub off with 
excelsior or burlap, and finally rub with waste or a soft cloth. The filler should be left to dry 
for at least twenty-four hours before the first coat of shellac is applied. 

To color filler. A golden oak stain and filler is made by adding to the above raw sienna 
and a little burnt umber. A dark filler is made by adding to the light filler burnt umber 
and drop black. A green filler is made by adding to the light filler chrome yellow and IVus- 
sian blue. Almost any shade or color can be had by using combinations of pigments with 
the light filler. 

Stains. In using chemicals to stain woods it will be found that different pieces of the 
same kind of wood will take different shades ; especially is this true in regard to oak. 

To obtain an o/ire green on oak, use a saturated solution of iron chloride. When the 
wood comes out light a solution of tannic acid will darken it. Judgment must be exercised 
in the use of the tannic acid in respect to the strength of the solution. This will depend 
on the hardness and color of the wood. Different shades of green can be had by different 
strengths of solution. 

To obtain a rich deep brown on oak, use iron chloride, and on that apply ammonium 
sulphide. If pieces in the work should be lighter, use tannic acid to darken. 

To color whitewood a deep bnnon, first give a coat of tannic acid (five per cent solu- 
tion), then a coat of iron chloride, then ammonium sulphide. Treat ash in the same man- 
ner (for brown) as whitewood. 

To darken mahogany, use a five per cent solution of bichromate of potash. This will 
age it. When the bichromate solution is dry on the work, coat with a solution of red 



jQ WOOD TURNING 

Sanders. Bichromate solution is made from the crystals dissolved in water. The depth of 
color required will determine the strength of the solution. Red sanders solution is made 
by extracting the color from the powdered red sanders in alcohol. The depth of color 
required will determine the strength of solution. 

To produce an old mahogany stain on mahogany and cherry, coat the work with a solu- 
tion of bichromate of potash or ammonia, and, when dry, give it a coat of filler made in 
the following manner : 

To make mahogany filler, add rose lake and drop black to light filler, and apply the 
same as ordinary filler. 

To darken oak, use common lime made into a thin paste and apply. Let it stand a few 
minutes and rub off ; if not dark enough, repeat the operation. 

A rich brown is obtained by the use of iron chloride, ammonium sulphide, and burnt 
umber. The umber is made by mixing some of the powder in linseed oil and turpentine, 
or the umber ground in oil, thinned with turpentine, can be used. Apply in the order 
given above. 

All work should be rubbed off with a soft cloth after oil or oil stain is applied. On all 
work where water or spirit stains are used, an oil-stain effect can be obtained by coating 
with linseed oil. 

Fuming oak and other woods. The effect of fuming with ammonia is different on differ- 
ent woods (a little experimenting by the pupil will be of interest) ; especially is this true 
of oak. Red oak will not give such good results as white oak, and so it is with other woods. 

In fuming, the work should be free from all grease or oil spots. The surfaces that are 
to be stained should be kept clear of all other surfaces, to allow free circulation of the 
fumes of the ammonia. 

The work is placed in an air-tight box ; an open vessel containing ammonia is also placed 
in the box with the article. The work is left until the desired color effect is obtained ; 
a beautiful soft stain is the result. 

To stain wood black, brush the wood over several times with a hot solution of logwood, 
and, when dry, apply a coat of a preparation made from powdered galls. Finish with wax. 
The logwood solution is made by boiling the logwood in water. The gall solution is made 
by using two ounces of powdered galls to one quart of water. The galls should be allowed 
to stand in the water from three to four days ; a mild heat should be applied during 
this time. 

Another method of ebonizing wood is to give the work a coat of extract of logwood (the 
hotter the better), and, when dry, apply a coat of acetate of iron (which is made by putting 
iron filings in vinegar or in a five per cent solution of acetic acid). After the second coat is 
dry, apply a coat of a solution made of sulphate of iron (two ounces to a quart of water). 



APPENDIX 



71 



A third method of ebonizing wood is to apply three or four coats of extract of logwood ; 
develop the color by going over the work with a tincture of muriate of iron. 

Another method of ebonizing wood. Boil one half pound of logwood in two quarts 
of water, add to this the peel or shells of waFnuts, weighing about four ounces. Boil a 
second time and strain, then add one half pint of good vinegar and apply to the work 
when hot. 

Aniline stains. From aniline dyes almost any color and shade can be obtained by 
combinations. Some of the colors are soluble in alcohol, some in water, and others are 
soluble in either water, alcohol, or turpentine. 

In mixing for different shades, therefore, the liquid in which the color is soluble will 
determine which can be mixed together. Some of the colors require a mordant, and a solu- 
tion of alum, vinegar, or copperas may be used. 

The method of making a mahogany aniline stain is as follows : bismarck brown, \ oz. ; 
boiling water, 3 pt. ; or bismarck brown, \ oz. ; alcohol, 3 pt. 

All other aniline stains are made in this manner, substituting the liquid in which they 
will dissolve. Aniline stains should be kept in bottles, labeled, giving strength of solution 
(water, alcohol, or oil), so that no mistake can be made in using it. 

Miscellaneous recipes, i. Mahogany. Fustic chips, 2 oz. ; madder root, \ lb.; 
water, \ gal. 

2. Mahogatiy. Dissolve archil in water and make it of such strength as will suit ; add 
a little eosin, and apply to the work cold. 

3. Mahogany. Boil logwood chips in twice their bulk of water for two hours. Strain, 
then add a small quantity of chloride of tin. The tin gives redness. The quantity of tin 
to be used will depend upon the color required. Give the work two coats. 

4. Walnut. Epsom salts, \ oz. ; permanganate of potash, \ oz. ; water, \ pt. Dissolve, 
strain, and apply ; repeat until dark enough to suit. 

5. JFa/m/t. Vandyke brown, 4 oz. ; lye or potash, 2 oz. ; water, i^ lb. Boil until the 
bulk is reduced to less than half, and apply with a cloth when cold. 

6. Jla/nnt. Vandyke brown, i oz. ; burnt umber, 3 oz. ; aqua ammonia, -| lb. Mix and 
apply after straining. Let the work stand for a time to get rid of the ammonia fumes. 

7. To make a rosewood stain. Boil one quarter of a pound of logwood in one and one- 
half pints of water, then add one quarter of an ounce of salts of tartar. Stain the work 
with this solution while it is hot. Give two or three coats. To develop the grain of rose- 
wood, take a stiff brush and streak with the ebony stain previously described, using a piece 
of rosewood as a pattern for the grain. 

8. Rosezvood. Any of the mahogany stains will make a rosewood stain if repeatedly 
applied. If stained to a dark mahogany tone, go over the work lightly with an ebony stain, 



72 WOOD TURNING 

using a camel's-hair brush. Go over the work in a straggling, haphazard way, which is pecu- 
liar to the grain of rosewood. 

9. C/ieny. Any of the mahogany stains will make a cherry stain if thinned. 

10. Dark oak. Burnt umber, 4 oz. ; aqua ammonia sufficient to make stiff paste. Thin 
until the desired shade is obtained. 

11. To brighten sfai/is. Nitric acid, i- oz. ; hydrochloric acid, \ oz. ; grain tin, i^ oz. ; rain 
water, i oz. This should be mixed a few days before using. 

12. A beautiful brown is obtained on whitewood and birch by using, first, extract of 
logwood, allowing it to dry, and then adding a coat of acetate of iron. Rub off with a soft 
cloth and finish with wax. 

Recipe for refinishing varnished surfaces. In staining and finishing woods a student is 
liable to make mistakes in the color wanted. Many times, if the work could be refinished, 
it would be more satisfactory to him. 

The following recipe for cleaning off varnish and filler, and bleaching the wood to its 
natural color, will be found to give very satisfactory results : 

Clean off shellac and varnish with varnish remover. Varnish remover is obtained in 
the open market from dealers in paints and varnishes. 

After the surface has been cleaned of varnish, wash it off with a strong solution of caus- 
tic potash or lye ; then wash off with clean cold water ; then wash off with the bleaching 
solution, which is made of oxalic acid, — a strong solution. Let this dry and wipe off with a 
damp cloth, when the surface will be ready to stain and finish in any desirable way. 

Another solution which will remove varnish and may be made by the student with little 
difficulty is prepared in the following way : Mix together equal parts of soap powder or 
Gold Dust and caustic soda, add to this about one quarter as much ammonia as there is 
powder, then add water enough to dissolve the powder. Apply to the varnished surface 
with a cloth ; wipe off the old varnish with burlap or excelsior and finish wiping with a 
clean cloth. (The hands should be protected.) Bleach the surface with the oxalic acid 
solution. Stain and finish in any desirable way. 

A method of decorating work with designs on light-colored woods. Draw the desired 
design on the work. Shellac the design, being careful to keep the edges sharp. Give two 
or three coats, and after each, smooth the surface with fine sandpaper. When the shellac 
has thoroughly hardened, apply a coat of any desired dark stain to the whole work ; the 
design will stand out like inlaid work. 

Cement wax used in turning. A cement used in turning, to hold light and thin pieces on 
the lathe, is made as follows : resin, i oz. ; pitch, 2 oz. ; red ocher, finely powdered. Melt 
the resin and pitch together, and, while boiling, add the ocher. Use enough of the ocher 
to make the cement of the proper consistency ; a little tallow is sometimes added to this. 



APPENDIX 



7?> 



By applying this cement to a chuck and heating it, a thin piece of wood can be held 
while being turned on the lathe. To remove the piece from the chuck, tap it lightly and it 
will come off with little trouble. 

Another recipe for cement wax is : resin, i . lb. ; pitch, 4 oz. Melt together, and, while 
boiling, add brick dust ; test it by dropping a little on a flat surface until it is found to be 
hard enough ; then pour it into water and make up into rolls. 

Still another may be made by melting equal parts of resin and beeswax together and 
allowing to cool, when it will be ready for use. 



INDEX 



Acetate of iron, to make, 70 
Adjusting mechanism, 4 
Ammonia, use of (see F'uming), 

70 
Angle, to hold skew, 20 ; of skew, 

14 
Aniline stains, 71 
Approximate center of stock, 

18 
Arms, to turn for towel rail, 41 
Art of turning, 17 
Ash, to treat for brown, 69 
Attachments for split work, 62 
Auxiliary tools, 12 

Base, for candlestick, 28 ; lamp. 

58 
Beads, to turn, 30 
Bed, the lathe, 6 
Bell chuck, 4 
Bell-chuck work, 36 
Belting, 6 
Bichromate of potash, to use, 

69 
Bit brace, 13 
Black, to stain in, 70 
Bleach, surfaces to, 72 
Bore, for handle in mallet, 26 
Bowl, to turn, 39 
Box, powder, 52 ; to turn, 39 
Brown, to stain, 70 ; oil stain for, 

70 
Burned, tools, 21 

Calipers, the, 16 
Candlestick, to turn, 27 
Card receiver, 45 
Cement wax, 72 
Center marks, 21 
Chamois skin, 69 
Chemicals to stain with, 69 
Cherry stain, 72 
Chisel, the skew, 14 
Chisel handles, 22 
Chloride, iron, 70 
Chuck work, to, 43 



Chucked, to be, 31 

Cloth, to use in polishing, 24 

Club, police, 47 ; Indian. 48 

Comparison of cutting edges of 
skew and knife, 20 

Compasses. 17 

Compound swivel rest, 9 

Concave curves, 30 

Cone of lathe, 3 

Cone pulley, 4 

Copperas, solution of, 67 

Cornstarch, 69 

Counter cone pulley (.vtv Counter- 
shaft), 6 

Countershaft, 6 

<"up, 53 

Cut-off tool, 16 

Cutting concave curves, 29 

Cutting curves, 12 

Cylinder, plain, 17 

Cylinder, stepped, 22 

Dark oak, 70-72 
Dark shellac, to clear, 68 
Dead center, 5-17 
Decoration, method of, 72 
Definition of templet, 28 
Diameter and revolutions of 

pulleys, 7 
Diameters of pulleys, rules for 

finding, 7 
Diamond-point tool, 5-17 
Directions for using gouge, iS ; 

for using skew (see Paring 

cut), 19 
Drill, 13 
Dumb-bell, 54 

Ebonize wood, to, 70 
Ends, to cut, 21 
Extension bed lathe, 12 

Face off, to, 30 
Face plate, 4 

Filler, light, 69 ; mahogany, 70 ; 
to color, 69 

75 



Fillers, 69 

Fillets, 35 

Final, 60 

Finish, shellac, 31 

Finishing wax, 67 

First operations in turning, 18 

Frame, picture, 51 

Friction, to hold by, 31 

Fuming, to stain by, 70 

Gap lathe, 7 
(jauge, to make, 35 
Gavel, 55 

Gearing of the lathe, 7 
Glossy surface, 69 
Glove darner, 59 
Glue, to use, 33 
Gouge, 13; to use, 18 
Greasy surface from oil, 27 
Green filler, 69 
Green, solution for, 69 
Grinding tools, 13 
Grindstone, speed of, 13 

Hand wheel, 6 

Handle, to fasten in mallet, 

35 
Handles, tool, 55 
Hangers, 3 
Headstock, 4 
Height of rest, for paring cut, 

18; for scraping cut, 18 
Hollow work (see Bell chuck), 

36 
Hollow spindle, 4 
Hollows, 62 
Hot box, 4 
Hub, 33 

Inside calipers, 16 
Iron chloride, 70 

Japan drier, 69 

Knife edge compared with skew- 
chisel edge, 20 



76 



WOOD TURNING 



Lateral motion, 4 

Lathe tools, 12 

Line shaft, 6 ; revolutions of, 6 

Live center, 4 

Live-center end, 17 

Live spindle, 4 

Logwood, solution of, 70 

Loose pulley, 6 

Mahogany filler, to make, 62 

Mahogany, to age, 69 

Mallet, to turn, 34 ; to work out, 

35 
Mallet head, to lay out for hole, 

35 

Measuring tools, 12 

Method, of grinding, 13; of 
holding skew, 20 ; of mount- 
ing work for face-plate turn- 
ing, 28 

Moldings, miscellaneous, 62 

Mordant, 67 

Motion of chisel, to cut ends, 21 

Motor head lathes, 7 

Motor-driven lathe, 1 1 

Mounting work for center turn- 
ing, iS 

Names of pieces to design. 46 

Number of revolutions, of line 

shaft, 6; of grindstone, 13 

Oak, to darken, 70 

Obtuse angle, 16 

Oil cups, 4 

Oil stain, for brown, 70 

Oil, to finish with, 47 

Oil, to, 4 

Oilstone, 17 

Old mahogany, to stain for, 70 

Ordinates, to turn by, 48 

Outside calipers, 16 

Overhanging spindle, 8 

Paper, to mount work with, 39 
Paring cut, 19 
Parted work, to turn, 50 
Parting tool, 16 



Patterns, methods used in turn- 
ing' 33 

Plate, to turn, 50 

Polish with shellac, 24 

Pores, to seal, 68 

Position, of the body, 19 ; of the 
hands, 19; of the chisel on 
grindstone, i 5 

Powdered chalk, 69 

Primitive lathes, 1-3 

Projects selected, 48 

Pumice stone, powdered, 69 

Quarter-inch skew chisel, 28 

Raw sienna, 69 
Ready-to-use fillers, 69 
Receiver, card, 45 
Recipe for removing varnish. 

Recipes, miscellaneous, 71 
Removing work from face plate, 

.41 
Rings, napkin, 36 ; to turn, 42 ; 

towel, 56 
Rod, 4 

Rolling pin, to turn, 43 
Rosewood, stain for, 71 
Rotten stone, 69 
Roughing down, 18 
Round-nose scraping tool, 15 
Rubbing a surface, 69 
Rule, measuring, 16 
Rules for speed of grindstone. 



Sandpaper, to use, 23 
Scraping cut, 19; instructions 

for, 18; to set rest for, 26 
Screw-center chuck, 4 
Screw-chuck turning, 26 
Screw holes, to eliminate, 41 
Section {see Ring), 43 
Self-contained lathe, 7 
vSharpening gouge, 14 
Sharpening tools, 12 
Sharpening the skew, i 5 
Shifter, 3-7 



Silex, 69 

Sizes, of chisels and gouges, 16; 
of driving pulleys, 7 

Sizing, 24 

Sizing tool, 16 

Skew chisel, to hold, 19 

Skewed, 14 

Slide rest, 9 

Slip stone, 17 ; sharpening with, 
14 

Smeary surface from shellac, 27 

Smoker set, 40 

Soft silk, to polish with, 69 

Speed lathe, the, 3-7 

Speed of grindstone, 13 

Spindle, tail stock, 5 ; head 
stock, 4 

Split work, methods for, 60 ; at- 
tachments for turning, 62 

Square-nose scraping tool, 15 

Tabulated drawing, 34 

Tail stock, 4 

Tannic acid, 69 

Temper, draw, 21 

Templet, for chisel handle, 25; 

to make, 30 
Templets, to apply, 32-33 
Tight pulley, 7 
Tool rest, 6 
Tools used in turning, 4-12 

Umber, burnt, 70 
Using the gouge, 18 

Varnish, to finish with, 68 
Varnished surfaces, to refinish, 

72 
Vase, 57 

Walls, thickness of, 28 

Walnut, stain for, 71 

Wax, adhesive, 72; finishing, 

67; to apply, 31 ; to make 

finishing, 6j 
Whitewood, to stain brown, 67 ; 

to treat for brown, 69 
Whiting, 69 



